London Philharmonic Orchestra 14 March 2015 concert programme

Concert programmelpo.org.uk

Contents

2 Welcome3 On stage tonight 4 About the Orchestra5 Leader: Pieter Schoeman 6 Vladimir Jurowski7 Carolin Widmann8 Programme notes17 Highlights 2015/16 season18 Supporters19 Sound Futures donors20 LPO administration

The timings shown are not precise and are given only as a guide.

Southbank Centre’s Roya l Festival HallSaturday 14 March 2015 | 7.30pm

Julian Anderson In lieblicher Bläue, poem for violin and orchestra (world premiere)* (21’)

Interval

Ravel Daphnis et Chloé (complete ballet)† (50’)

Vladimir Jurowski conductor

Carolin Widmann violin

London Philharmonic Choir

* Commissioned by the London Philharmonic Orchestra, Deutsches Symphonie Orchester Berlin and Seattle Symphony Orchestra. The London Philharmonic Orchestra gratefully acknowledges financial support from PRS for Music Foundation and the Boltini Trust.

† Supported by

Free pre-concert event 6.15pm–6.45pm Royal Festival Hall

Julian Anderson discusses his new violin concerto, In lieblicher Bläue.

Winner of the RPS Music Award for Ensemble

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKIsupported by the Tsukanov Family Foundation

Leader PIETER SCHOEMANsupported by Neil Westreich

Composer in Residence MAGNUS LINDBERGPatron HRH THE DUKE OF KENT KG

Chief Executive and Artistic Director TIMOTHY WALKER AM

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

2 | London Philharmonic Orchestra

Welcome

Welcome to Southbank Centre

We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email [email protected]

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

PHOTOGRAPHY is not allowed in the auditorium.

LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

London Philharmonic Orchestra

2014/15 season

LPO PremieresWelcome to this evening's concert at Royal Festival Hall featuring the world premiere of Julian Anderson’s work for violin and orchestra, In lieblicher Bläue. If premieres are your thing, then be sure to join us on Friday 27 March at the world premiere of James Horner’s new work for four horns. And at our next concert on Saturday 21 March the Orchestra will be performing the UK premiere of Magnus Lindberg’s Piano Concerto No. 2, with soloist Yefim Bronfman and Vladimir Jurowski conducting. To book and find out more visit lpo.org.uk/whats-on-and-tickets LPO at Glyndebourne recording up for awardWe are delighted to hear that the 2011 Glyndebourne CD recording of Die Meistersinger von Nürnberg with the London Philharmonic Orchestra conducted by Principal Conductor and Artistic Advisor Vladimir Jurowski has been shortlisted in the category of Best Opera for the BBC Music Magazine Awards 2015. The winner will be announced on 7 April.classical-music.com/awards

Welcome to Alice!We are pleased to welcome into the LPO fold our new sub-principal oboist, Alice Munday. She has hit the road running, figuratively and literally, as she started with the season in full pelt and likes to run in her spare time. Alice chose the oboe as she thought it might be more sociable than the piano, without taking into consideration the early stages of learning that particular instrument (think ducks). She studied at the Royal Academy of Music and has made her way to the LPO via the sunny climes of Malta where she was sub-principal oboe/principal cor anglais of the National Orchestra of Malta, and the BBC Philharmonic.

http://po.org.uk/whats-on-and-tickets

http://www.classical-music.com/awards

London Philharmonic Orchestra | 3

On stage tonight

First ViolinsPieter Schoeman* Leader

Chair supported by Neil Westreich

Vesselin Gellev Sub-LeaderJi-Hyun Lee

Chair supported by Eric Tomsett

Catherine CraigThomas EisnerGeoffrey Lynn

Chair supported by Caroline, Jamie & Zander Sharp

Robert PoolSarah StreatfeildYang ZhangGrace LeeRebecca ShorrockAlina PetrenkoGalina TanneyNilufar AlimaksumovaCaroline Sharp

Second ViolinsCharlotte Potgieter

Guest PrincipalJeongmin Kim Kate Birchall

Chair supported by David & Victoria Graham Fuller

Nancy ElanLorenzo Gentili-TedeschiFiona HighamNynke HijlkemaJoseph MaherMarie-Anne MairesseAshley StevensFloortje GerritsenSioni WilliamsDean WilliamsonHarry Kerr

ViolasPrzemyslaw Pujanek

Guest PrincipalRobert DuncanGregory AronovichSusanne MartensBenedetto PollaniLaura VallejoIsabel PereiraNaomi HoltDaniel CornfordMiriam EiselePeter NorrissGeorgina Payne

CellosKristina Blaumane

PrincipalFrancis BucknallLaura DonoghueSantiago Carvalho†David LaleGregory WalmsleyElisabeth WiklanderSue Sutherley Tom RoffHelen Rathbone

Double BassesKevin Rundell* PrincipalLaurence LovelleGeorge PenistonRichard LewisWilliam ColeLowri MorganCharlotte KerbegianBen Wolstenholme

FlutesJuliette Bausor

Guest PrincipalHannah GraysonStewart McIlwham*

PiccolosStewart McIlwham*

PrincipalHannah Grayson

Alto FluteSue Thomas*

Chair supported by Victoria Robey OBE

OboesIan Hardwick* PrincipalAlice Munday

Cor AnglaisSue Böhling* Principal

ClarinetsRobert Hill* PrincipalThomas Watmough Emily Meredith Paul Richards

Bass ClarinetPaul Richards Principal

E-flat ClarinetThomas Watmough

Principal

BassoonsJohn McDougall

Guest PrincipalGareth NewmanEmma Harding

ContrabassoonSimon Estell Principal

HornsDavid Pyatt* Principal

Chair supported by Simon Robey

John Ryan* PrincipalMartin HobbsMark Vines Co-PrincipalGareth Mollison

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-PrincipalDavid Hilton

TrombonesMark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

Bass TromboneLyndon Meredith Principal

TubaLee Tsarmaklis* Principal

Chair supported by Friends of the Orchestra

TimpaniSimon Carrington* Principal

Percussion Andrew Barclay* Principal

Chair supported by Andrew Davenport

Keith MillarKaren HuttSarah MasonJames BowerIgnacio MolinsNigel BatesMartin OwensFeargus Brennan

HarpsRachel Masters* PrincipalTamara Young

Celeste and PianoCatherine Edwards

* Holds a professorial appointment in London

† Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players

Chair Supporters

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Sonja Drexler; anonymous donor



The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking ensembles in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg is the Orchestra’s current Composer in Residence.

The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s top conductors and

soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a season-long festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most sought-after artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London.The Financial Times, 14 April 2014


Touring remains a large part of the Orchestra’s life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 80 releases available on CD and to download. Recent additions include organ works by Poulenc and Saint-Saëns with Yannick Nézet-Séguin; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovich’s Symphonies Nos. 6 & 14 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

Find out more and get involved!

lpo.org.uk

facebook.com/londonphilharmonicorchestra

twitter.com/LPOrchestra

youtube.com/londonphilharmonic7

Pieter Schoemanleader

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Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra.

He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC Symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.


His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra national de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos.

lpo.org.uk/about/jurowski

Vladimir JurowskiPrincipal Conductor and Artistic Advisor

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco.

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13).

He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin, New York and St Petersburg Philharmonic orchestras; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

Jurowski seems to have reached the magic state when he can summon a packed house to hear anything he conducts with the LPO, however unfamiliar.Geoff Brown, The Arts Desk, February 2015

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Explore the LPO’s current season with Vladimir Jurowski: lpo.org.uk/whats-on/season14-15.html


Carolin Widmannviolin

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Carolin Widmann was born in Munich and studied with Igor Ozim in Cologne, Michèle Auclair in Boston and David Takeno at the Guildhall School of Music and Drama in London.

Her performances span the great classical concertos, new commissions specially written for her, solo recitals, a wide variety of chamber music and, increasingly, period instrument performances including play and direction from the violin.

She has performed with internationally renowned orchestras including the Leipzig Gewandhaus, Orchestre National de France, Santa Cecilia, Tonhalle Zurich, Czech Philharmonic, Vienna Radio Symphony, BBC Symphony and Bayerische Rundfunk, and with distinguished conductors such as Sir Simon Rattle, Riccardo Chailly, Sir Roger Norrington, and Pablo Heras-Casado.

As well as this evening’s world premiere of Julian Anderson’s work which was written for her, this season includes her Royal Stockholm Philharmonic debut with the Anders Hillborg concerto. She is Artist in Residence at the Alte Oper Frankfurt and will continue her partnership with the Akademie für Alte Musik Berlin, play/directing on gut strings.

A regular visitor to London’s Wigmore Hall, Carolin Widmann enjoys highly-praised duo partnerships with pianists Alexander Lonquich and Dénes Várjon, with whom she records for ECM Records. She has recorded the Schumann and Mendelssohn concertos with the

Chamber Orchestra of Europe, which will be released later this year. Her discs of Schubert and Schumann sonatas received critical acclaim at home and abroad, including the ‘Diapason d’Or’ and the German Record Critics’ Award. In 2006, Carolin Widmann’s debut CD, Reflections I was named Critics’ Choice by the German Record Critics’ Award Association. Her new recording of Morton Feldman’s concerto Violin and Orchestra with Frankfurt Radio Symphony Orchestra under Emilio Pomárico was released to great acclaim in 2013. She has a new duo partnership with Nicolas Hodges specialising in contemporary music programmes.

Voted ‘Artist of the Year’ at the 2013 International Classical Music Awards, Carolin Widmann is a keen chamber musician and Artistic Director of Germany’s oldest chamber music festival, the Sommerliche Musiktage Hitzacker. She regularly appears as a guest artist at well-known festivals such as Salzburg, Schleswig-Holstein, Lucerne, Heimbach, Jerusalem and the Festival d’ Automne in Paris.

Carolin Widmann has been Professor of Violin at Leipzig’s University of Music and Theatre ‘Felix Mendelssohn-Bartholdy’ since 2006, and plays a G B Guadagnini violin from 1782. Carolin is married to Jeff, a landscape architect, and they have two young children.

carolinwidmann.com

This performance is perfectly judged: Carolin Widmann is a fabulously assured and poetic soloist, taking minute care over the smallest, apparently most insignificant details.Andrew Clements, The Guardian, May 2013ECM recording of Morton Feldman’s Violin and Orchestra

http://www.carolinwidmann.com



Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for more than 65 years and made numerous recordings for CD, radio and television.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. As part of Southbank Centre’s The Rest Is Noise festival, the Choir performed Arvo Pärt’s Magnificat and Berlin Mass, Shostakovich’s Symphony No. 13 (Babi Yar), Poulenc’s Stabat Mater, Britten’s War Requiem, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana, Tippett’s A Child of Our Time and John Adams’s El Niño.

In early 2014 the Choir performed Julian Anderson’s Alleluia – which it premiered at the reopening of Royal Festival Hall in 2007 – and Beethoven’s Symphony No. 9 under Vladimir Jurowski, repeating the latter at the Théâtre des Champs-Elysées, Paris. In November 2014 the Choir was delighted to perform Mahler’s Symphony No. 2 under the Orchestra’s new Principal Guest Conductor Designate Andrés Orozco-Estrada, and looks forward to performances of Ravel’s Daphnis et Chloé and Janáček’s Glagolitic Mass this season.

Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

SopranosAnnette Argent, Jane Awdry, Hilary Bates, Catherine Boxall, Hannah Boyce, Anisoara Brinzei, Laura Buntine, Olivia Carter, Gemma Chance, Paula Chessell, Alana Clark, Emily Clarke, Emma Craven, Harriet Crawford, Sarah Deane-Cutler, Philippa Drinkwater, Rachel Gibbon, Emma Hancox, Jane Hanson, Francesca Harris, Sally Harrison, Louisa Hungate, Veronica Jackson, Mai Kikkawa, Jenni Kilvert, Judith Kistner, Olivia Knibbs, Suzannah Lipmann, Ilona Lynch, Ros Mann, Janey Maxwell, Meg McClure Tynan, Katie Milton, Mariana Nina, Angelina Panozzo, Lydia Pearson, Marie Power, Danielle Reece-Greenhalgh, Priscilla Santhosham, Tracey Szwagrzak, Susan Thomas, Julia Warner, Susan Watts, Charlotte Wielgut

AltosDeirdre Ashton, Phye Bell, Sally Brien, Andrei Caracoti, Noel Chow, Helen Clough, Liz Cole, Sheila Cox, Fiona Duffy-Farrell, Carmel Edmonds, Pauline Finney, Romaine Gerber, Kathryn Gilfoy, Henrietta Hammonds, Kristi Jagodin, Andrea Lane, Lisa MacDonald, Ayla Mansur, Marj McDaid, Kristen Mooy, Sophie Morrison, Rachel Murray, Angela Pascoe,

Sheila Rowland, Carolyn Saunders, Muriel Swijghuisen Reigersberg, Susi Underwood

Tenors Scott Addison, Tim Appleby, Nick Arratoon, Chris Beynon, Kevin Darnell, Fred Fisher, Robert Geary, Stephen Hodges, Patrick Hughes, Andrew Mackie, Tony Masters, Luke Phillips, Knut Olav Rygnestad, Jaka Škapin, Owen Toller, Travis Winstanley, Tony Wren, Martin Yates

Basses Martyn Atkins, Sam Barrett, Gordon Buky-Webster, Adam Bunzl, Geoff Clare, John Clay, Phillip Dangerfield, Marcus Daniels, Leander Diener, Paul Fincham, Ian Frost, Christopher Gadd, Armando Garrine, Christopher Harvey, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Martin Hudson, Steve Kirby, John Luff, Anthony McDonald, Richard Miller, John D Morris, John G Morris, Rob Northcott, Will Parsons, Johan Pieters, Mike Probert, Jonathan Riley, Sean Salamon, Ed Smith, Peter Sollich, Philip Tait, Peter Taylor, Alex Thomas, Trevor Watson, Hin-Yan Wong, John Wood

The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008, 2010 and 2013, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. In 2012 it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. Last year’s Proms season included Walton’s Henry V with the Academy of St Martin in the Fields and John Hurt under Sir Neville Marriner, who at 90 years old now holds the record as the oldest conductor to lead a Proms concert.

A well-travelled choir, it has visited numerous European countries and appeared in Kuala Lumpur, Hong Kong and Perth, Australia. Members of the Choir performed Weill’s The Threepenny Opera in Paris, with a repeat performance in London. In 2012 and 2014 it appeared at the Touquet International Music Masters Festival in France, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem.

The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk


British composer Julian Anderson has been described by The Times as ‘a composer to cherish’ and by London’s Evening Standard as ‘one of the finest composers of his generation’. This evening’s world premiere is his first ‘concerto-like piece’ as he describes it, and possibly the first violin concerto that requires the soloist to replace their bow with a pencil and turn their back to the audience! The composer was just 13 when he was first inspired by In lieblicher Bläue written by the German Romantic poet Friedrich Hölderlin. The poem is about beauty but, as

Julian explains: ‘the beauty is meant to be elusive, fleeting and something that doesn’t last’. Unlike, then, the enduring, passionate love between Daphnis and Chloé, the hero and heroine of Ravel’s ballet. The complete ballet is rarely heard on the concert platform, although Ravel always thought his work could stand alone, referring to it as a ‘Symphonie choréographique’. It is full of atmosphere, evoking the steamy heat of both the setting of a Greek island and the love affair.

Speedread

In lieblicher Bläue was composed for the virtuosic violinist Carolin Widmann whose playing I much admire. It is not a virtuoso work, however, but rather an intimate and predominantly lyrical piece which allows the soloist to sing long melodic phrases.

Inspired by an elusive late prose poem of the same name by Friedrich Hölderlin, this work is intentionally not a concerto. Rather, as the subtitle indicates, In lieblicher Bläue (‘in lovely blueness’) is an essentially contemplative poetic work, sparingly scored and generally transparent in sound, in which the violin leads the orchestra in an increasingly lyrical meditation on images gleaned from the Hölderlin poem. For those interested, the poem is reproduced on page 12, but since the music is not a word-by-word depiction of it, I suggest reading it after the performance, not during it.

The form of the piece is correspondingly elusive, as is the relation between violin soloist and orchestra. Without being too programmatic about things, the violin represents the poet with all his various thoughts, feelings and impulses. The orchestra can provide a context for those thoughts – a context that may be radiantly luminous and supportive, or else indifferent, puzzled, quizzical or even hostile.

The strange nature of the violin-orchestra relationship is made clear by a small element of theatre in the staging. The violinist starts playing offstage (though near to the stage entrance), but in perfect synch with the orchestra. The violinist then enters, playing onstage but to one side of the orchestra, as if refusing to collaborate fully. For the majority of the work the violinist plays in the standard soloist’s position at the front of the stage.

In lieblicher BläuePoem for violin and orchestra(world premiere)

Carolin Widmann violin

JulianAnderson

born 1967

Programme notes


But for the final section of the work, the soloist turns their back on the audience and plays facing conductor and orchestra, as if to cut the audience (ie society) out altogether. This has a parallel with Hölderlin’s final isolation from society in his last 30 years, when he lived in his little tower residence at Tübingen. The following guide gives a brief survey of the work together with references to the Hölderlin poem where relevant.

The opening – and indeed much of the first half of the piece – is episodic and very changeable in mood. The violinist, at first just offstage, suggests notes, sounds, pitches and the orchestra responds with varying degrees of sympathy. The violinist comes onstage playing to one side of the orchestra, and the harmonic climate warms somewhat, with the violinist playing decoratively above the orchestra. The opening of the poem, describing a view of a church steeple against the blue sky, is perhaps evoked here. The violinist walks to the front of the orchestra, playing whilst walking a fantastical melange of harmonics in a ‘walking cadenza’. The orchestra, meanwhile, grows ever louder and more full, eventually – as the soloist reaches the front – exploding in a series of bell carillons (corresponding to the mention in the poem of the church bells ringing and light streaming through the windows in the steeple). Eventually the deepest bell-harmony resounds through the orchestra (it’s modelled on the great bell of Cologne Cathedral) and a more lyrical melodic line starts up in the violin, accompanied by rocking figures in the orchestra. The orchestra and violin eventually reach a point of stillness (as suggested in the poem: ‘ein stilles Leben ist es…’).

At this point, orchestra and violin return to the short, staccato sounds of the opening. A stream of short pulses develops within both violin and orchestra, corresponding to the second part of the Hölderlin poem with its fascinating question Gibt es auf Erden ein Maaß? (‘is there a measurement on earth?’) This question prompted the whole following playful, scherzo-like section, in which different, competing measurements of pulse and pitch bounce off each other in a volatile manner. The violinist abandons their bow, playing the violin with an ordinary pencil instead – producing a light but very distinct buzzing sound

which is echoed and distorted in the orchestral textures. As thunder is mentioned in the poem, so it is heard in distorted, metaphorical form on the orchestra textures briefly, here and there.

Tension mounts as the violinist resumes bowing normally, jostling with the orchestra and vying for the musical argument. The outcome is violent: the orchestra explodes in two savage attempts to silence the violin altogether.

Following this, the second half of the work abandons the more volatile, playful atmosphere of the previous music. Now the violin leads the music in a long, arching series of melodies which exploit to the full the instrument’s capacity for singing lines across its entire range. The orchestral context for this varies – at first a lone cor anglais partners the violin in a pas de deux, with the occasional harmony from the orchestra. Then a longer, more sustained line in the violin prompts more harmonic support from the orchestra. Bells return, at first ushering in mysterious harmonics on the violin and orchestra double basses (sounding like distant alphorns). After a further violin melody, faster music returns along with the bells: vibraphone, harp, piano, plucked strings start up a stately dance, eventually joined by the soloist in energetic syncopation.

The long melodic arches of violin line now resume more ecstatically, with very warm and fully supportive harmonic resonances on the full orchestra. Each time the violin seems to have completed a melodic arch, it starts up a new and usually more elaborate melody, and as the melody blossoms so does the increasingly radiant harmony in the orchestra. As in the first part of the work, violin and orchestra eventually reach a point of stillness, mirroring the contemplative wonder of Hölderlin’s poem.

The final section is darker and more uncertain, as in both Hölderlin’s poem and in his life. The violin stops using vibrato – the usual modern requirement for lyrical string playing. The violinist then turns their back on the audience altogether, essentially playing only to and for themselves from here until the end of the work. The orchestral landscape darkens too. The harsh harmonies

Programme notes continued


Interval – 20 minutesAn announcement will be made five minutes before the end of the interval.

with which the orchestra attacked the soloist halfway through the work, here return as a quiet but persistent series of rumours. Orchestral echoes and rumours, amplified by further rumbles of distant thunder and deep bell-like sounds, circle in endlessly different juxtapositions around the violinist who, still with back turned, ignores the orchestra, obstinately playing ever simpler phrases of what sounds like a child’s lullaby. There is no resolution – the work concludes but the general atmosphere of unease and uncertainty leaves the violinist at the end stranded on a high pitch without support. The music concludes as elliptically as does Hölderlin’s poem.

Programme note © Julian Anderson

Poem and translation overleaf

Julian Anderson introduces his new work for violin and orchestra, In lieblicher Bläue:

youtu.be/xM7dzOEfTMk

Orchestral worksFantasias

The Crazed Moon

The Discovery of Heaven (winner of Sky Arts Award)

Vladimir Jurowski | Ryan Wigglesworth conductors


Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets

Available to download or stream online via iTunes, Spotify, Amazon and others.

‘This might just be the new music you've been waiting for, its wow-factor surface fluency only part of the story. Strongly recommended.' David Gutman, Gramophone, January 2014

LPO–0074

Julian Anderson on the LPO label

http://youtu.be/xM7dzOEfTMk

http://lpo.org.uk/recordings


In lieblicher Bläue

In lieblicher Bläue blühetmit dem metallenen Dache der Kirchthurm. Den

umschwebetGeschrei der Schwalben, den umgiebt die rührendste

Bläue.Die Sonne gehet hoch darüber und färbet das Blech,im Winde aber oben stille krähet die Fahne.Wenn einer unter der Glocke dann herabgeht, jene

Treppen,ein stilles Leben ist es, weil,wenn abgesondert so sehr die Gestalt ist,die Bildsamkeit herauskommt dann des Menschen.Die Fenster, daraus die Glocken tönen, sind wie Thore an

Schönheit.Nemlich, weil noch der Natur nach sind die Thore,haben diese die Ähnlichkeit von Bäumen des Walds.Reinheit aber ist auch Schönheit.Innen aus Verschiedenem entsteht ein ernster Geist.So sehr einfältig aber die Bilder, so sehr heilig sind die,

daßman wirklich oft fürchtet, die zu beschreiben.Die Himmlischen aber, die immer gut sind,alles zumal, wie Reiche, haben diese, Tugend und

Freude.Der Mensch darf das nachahmen.Darf, wenn lauter Mühe das Leben, ein Menschaufschauen und sagen: so will ich auch seyn?Ja. So lange die Freundlichkeit noch am Herzen, die

Reine,dauert, misset nicht unglücklich der Mensch sich der

Gottheit.Ist unbekannt Gott? Ist er offenbar wie die Himmel?dieses glaub’ ich eher. Des Menschen Maaß ist’s.Voll Verdienst, doch dichterisch,wohnet der Mensch auf dieser Erde. Doch reinerist nicht der Schatten der Nacht mit den Sternen,wenn ich so sagen könnte,als der Mensch, der heißet ein Bild der Gottheit.

Giebt auf Erden ein Maaß?Es giebt keines. Nemliches hemmen der Donnergang nie die Welten des

Schöpfers.Auch eine Blume ist schön, weil sie blühet unter der

Sonne.Es findet das Aug’ oft im LebenWesen, die viel schöner noch zu nennen wären

als die Blumen. O! ich weiß das wohl!Denn zu bluten an Gestalt und Herz,und ganz nicht mehr zu seyn, gefällt das Gott ?Die Seele aber, wie ich glaube, muß rein bleiben,sonst reicht an das Mächtige auf Fittigen der Adler mit

lobendem Gesangeund der Stimme so vieler Vögel.Es ist die Wesenheit, die Gestalt ist’s.Du schönes Bächlein, du scheinest rührend, indem du

rollest so klar,wie das Auge der Gottheit, durch die Milchstraße.Ich kenne dich wohl,aber Thränen quillen aus dem Auge. Ein heiteres Lebenseh’ ich in den Gestalten mich umblühen der

Schöpfung, weilich es nicht unbillig vergleiche den einsamen Tauben

auf dem Kirchhof.Das Lachen aber scheint mich zu grämen der Menschen,

nemlich ich hab’ ein Herz.Möcht’ ich ein Komet seyn?Ich glaube. Denn sie haben Schnelligkeit der Vögel; sie

blühen an Feuer,und sind wie Kinder an Reinheit.Größeres zu wünschen, kann nicht des Menschen Natur

sich vermessen.Der Tugend Heiterkeit verdient auch gelobt zu werden

vom ernsten Geiste,der zwischen den drei Säulen wehetdes Gartens. Eine schöne Jungfrau muß das Haupt

umkränzenmit Myrthenblumen, weil sie einfach istihrem Wesen nach und ihrem Gefühl. Myrthen abergiebt es in Griechenland.

Wenn einer in den Spiegel siehet,ein Mann, und siehet darinn sein Bild, wie abgemahlt;es gleicht dem Manne.Augen hat des Menschen Bild,hingegen Licht der Mond.Der König Ödipus hat ein Auge zuviel vielleicht.Diese Leiden dieses Mannes, sie scheinen

unbeschreiblich, unaussprechlich,unausdrüklich.Wenn das Schauspiel ein solches darstellt, kommt’s

daher.Wie ist mir’s aber, gedenk’ ich deiner jetzt?Wie Bäche reißt des Ende von Etwas mich dahin,



welches sich wie Asien ausdehnet.Natürlich dieses Leiden, das hat Ödipus.Natürlich ist’s darum.Hat auch Herkules gelitten?Wohl. Die Dioskuren in ihrer Freundschafthaben die nicht Leiden auch getragen? Nemlichwie Herkules mit Gott zu streiten, das ist Leiden.Und die Unsterblichkeit im Neide dieses Leben,diese zu theilen, ist ein Leiden auch.Doch das ist auch ein Leiden, wenn mit Sommerflecken

ist bedeckt ein Mensch,mit manchen Flecken ganz überdeckt zu seyn! Das thut

die schöne Sonne:

nemlich die ziehet alles auf.Die Jünglinge führt die Bahn sie mit Reizen ihrer

Strahlenwie mit Rosen.Die Leiden scheinen so,die Ödipus getragen,als wie ein armer Mann klagt,daß ihm etwas fehle.Sohn Laios, armer Fremdling in Griechenland!Leben ist Tod, und Tod ist auch ein Leben.

Friedrich Hölderlin from the book Hymns and Fragments

In lovely blue the steeple blossomsWith its metal roof. Around whichDrift swallow cries, around whichLies most loving blue. The sun,High overhead, tints the roof tin,But up in the wind, silent,The weathercock crows. When someoneTakes the stairs down from the belfry,It is a still life, with the figureThus detached, the sculpted shapeOf man comes forth. The windowsThe bells ring throughAre as gates to beauty. Because gatesStill take after nature,They resemble the forest trees.But purity is also beauty.A grave spirit arises from within,Out of divers things. Yet so simpleThese images, so very holy,One fears to describe them. But the gods,Ever kind in all things,Are rich in virtue and joy.Which man may imitate.May a man look upFrom the utter hardship of his lifeAnd say: Let me also beLike these? Yes. As long as kindness lasts,Pure, within his heart, he may gladly measure himselfAgainst the divine. Is God unknown?Is he manifest as the sky? This I tendTo believe. Such is man’s measure.Well deserving, yet poetically

Man dwells on this earth. But the shadowOf the starry night is no more pure, if I may say so,Than man, said to be the image of God.

Is there measure on earth? There isNone. No created world ever hinderedThe course of thunder. A flowerIs likewise lovely, blooming as it doesUnder the sun. The eye often discoversCreatures in life it would be yet lovelierTo name than flowers. O, this I know!For to bleed both in body and heart, and ceaseTo be whole, is this pleasing to God?But the soul, I believe, mustRemain pure, lest the eagle wingIts way up to the Almighty with songsOf praise and the voice of so many birds.It is substance, and is form.Lovely little brook, how moving you seemAs you roll so clear, like the eye of God,Through the Milky Way. I know you well,But tears pour from the eye.I see gaiety of life blossomAbout me in all creation’s forms,I do not compare it cheaplyTo the graveyard’s solitary doves. People’sLaughter seems to grieve me,After all, I have a heart.Would I like to be a comet? I think so.They are swift as birds, they flowerWith fire, childlike in purity. To desireMore than this is beyond human measure.


The gaiety of virtue also deserves praiseFrom the grave spirit adriftBetween the garden’s three columns.A beautiful virgin should wreathe her hairWith myrtle, being simple by nature and heart.But myrtles are found in Greece.

If a man looks into a mirrorAnd sees his image therein, as if painted,It is his likeness. Man’s image has eyes,But the moon has light.King Oedipus may have an eye too many.The sufferings of this man seem indescribable,Inexpressible, unspeakable. Which comesWhen drama represents such things.But what do I feel, now thinking of you.Like brooks, I am carried away by the end of somethingThat expands like Asia. Of course,Oedipus suffers the same? For a reason,Of course. Did Hercules suffer as well?Indeed. In their friendshipDid not the Dioscuri also suffer?Yes, to battle God as Hercules didIs to suffer. And to half share immortality

With the envy of this life,This too is pain. But this alsoIs suffering, when a man is covered with summer

freckles,All bespattered with spots. This is the workOf the sun, it draws everything out.It leads young men along their course,Charmed by rays like roses.The sufferings of Oedipus seem like a poor manLamenting what he lacks.Son of Laios, poor stranger in Greece.Life is death, and death a life.

Translation © Richard Sieburth

In lieblicher Bläue republished with permission of Princeton University Press, from Hymns and Fragments, by Friedrich Hölderlin, translated and introduced by Richard Sieburth, © 1984, permission conveyed through Copyright Clearance Center, Inc


The vocation of the Palazzetto Bru Zane – Centre de musique romantique française is to favour the rediscovery of the French musical heritage of the years 1780-1920 and obtain international recognition for that repertoire. Housed in Venice in a palazzo dating from 1695, specially restored for the purpose, the Palazzetto Bru Zane – Centre de musique romantique française is one of the achievements of the Fondation Bru. Combining artistic ambition with high scientific standards, the Centre reflects the humanist spirit that guides the actions of that foundation. The Palazzetto Bru Zane’s main activities, carried out in close collaboration with numerous partners, are research, the publication of books and scores, the organisation and international distribution of concerts, support for teaching projects and the production of CD recordings.

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PALAZZETTO BRU ZANE


Daphnis et Chloé (complete ballet)


MauriceRavel

1875–1937

Daphnis et Chloé, Ravel’s masterpiece, was composed to Serge Diaghilev’s commission for the Ballets Russes. Begun in 1909, it took the composer more than two years to complete, the closing scene alone occupying a full 12 months. There were disagreements over the scenario, and the stage production itself was not achieved without quarrels, but the ballet finally opened at the Châtelet Theatre, Paris, on 8 June 1912 with Nijinsky and Karsavina dancing the title roles and Pierre Monteux conducting. Fokin was the choreographer and Bakst the designer. The ballet was not a real success, partly because its creators had divergent conceptions of ancient Greece.

A later ballet, choreographed by Sir Frederick Ashton in 1951, firmly established itself in the repertoire of the Royal Ballet, but the fact remains that Ravel’s score is largely self-sufficient. The composer soon realised that the music could stand alone in the concert hall, and for that purpose he extracted two sets of ‘symphonic fragments’. Tonight we hear the complete score.

Fokin’s scenario draws its simple love story from a pastoral by the Greek sophist, Longus, who lived in the second or third century AD. For the music Ravel aimed ‘to compose a broad musical fresco, concerned less with archaic fidelity than with loyalty to the Greece of my dreams, which is associated with the Greece imagined and depicted by the French artists of the latter part of the 18th century'. The score is constructed, as he pointed out, like a symphony with a strict system of tonality and a small number of themes, whose recurrence ensures homogeneity. It employs a large

orchestra with 15 woodwind, four trumpets, two harps and, among the plentiful percussion, a wind machine. There is also a wordless chorus, which makes a telling contribution to the atmosphere evoked by the music.

In the theatre the curtain rises to disclose a meadow on the edge of a sacred wood on a spring afternoon. To one side is a grotto, at the entrance to which stand sculptures of three nymphs carved from the rock. Towards the back a large rock vaguely suggests the form of the god Pan. A chain of fifths rises mysteriously through the muted orchestral strings, a flute announces the theme associated with the nymphs of Pan, distant voices sigh and a solo horn introduces the theme of the goatherd, Daphnis. The tempo quickens slightly as young men and girls enter bearing gifts for the nymphs, and to a new melody on divided strings they perform a religious dance. Daphnis enters (oboe and flute solos with pizzicato violins) and joins the shepherdess, Chloé, as the dance resumes and rises to a climax. Daphnis and Chloé pay homage before the statues, and the dancers stop as they see the loving pair (horn and violin solos). The girls draw Daphnis into a lively dance (trumpet theme). Chloé, feeling jealous, joins the men in a waltz-like dance – the time signature is actually 7/4 – and eventually allows Dorcon, a rough cowherd, to kiss her. Daphnis angrily pushes him aside and makes tender overtures to Chloé. A dance contest between the two men is proposed. Dorcon’s grotesque performance (bassoons and bass drum) is laughed to scorn; his rival’s graceful 6/8 dance wins the prize, a kiss from Chloé, and Dorcon is chased away amid laughter.


Daphnis is briefly left to himself, but Lyceion, a married woman, enters (cadenza for clarinets) and attempts to seduce him with a dance. Annoyed by her failure, she mocks him and departs. Disturbing noises are heard in the offing, and marauding pirates rush upon the scene. Daphnis runs in search of Chloé, but she is abducted by the pirates. Daphnis curses the nymphs for failing to protect her, and falls fainting to the ground. Supernatural light (tremolos on divided strings) illuminates the scene and the three nymphs come to life, their theme heard in turn on flute, horn and clarinet as each figure steps from her pedestal. They move into a slow dance, then revive Daphnis and lead him to Pan’s rock. Slowly the god himself becomes visible (rising tremolos), and Daphnis prostrates himself in supplication.

A choral interlude accompanies a scene change to the pirate camp on a rocky coast. The pirates return from their raid and go into a ferocious dance. Then Chloé, her hands bound, is brought forward and commanded to dance. She pleads in vain for her liberty (cor anglais and other woodwind) and twice tries briefly to escape, but is finally carried off triumphantly by the pirates’ leader. At this moment a strange light invests the camp. Satyrs surround the pirates, the menacing shadow of Pan is seen on the rocks and the pirates flee.

The third scene, which follows without pause, returns to the grotto of Scene One. Daphnis lies asleep as day breaks – and here Ravel provides a marvellously sensitive evocation of a woodland dawn. At first there is only the murmur of rivulets formed by dew from the rocks. As the light strengthens, birdsong is heard and two shepherds (piccolo and E-flat clarinet) pass by. Herdsmen find Daphnis and waken him. He looks in anguish for Chloé (theme on clarinets and divided violas) and suddenly she appears. They rush into each other’s arms as the sunrise reaches its full splendour. An old shepherd explains (oboe solo) that Pan saved Chloé in remembrance of the nymph, Syrinx, whom the god loved. The young couple now mime the story of Pan and Syrinx, Daphnis at one point fashioning a flute from some stalks and Chloé dancing to the tune he plays. Eventually she falls into his arms and before the altar of the nymphs he pledges his fidelity. Their friends arrive and join the reunited lovers in a joyful, bacchanalian Danse générale.

Programme note © Eric Mason



Next LPO concerts at Royal Festival Hall

Saturday 21 March 2015 | 7.30pmProkofiev Chout (excerpts)Magnus Lindberg Piano Concerto No. 2 (UK premiere)Stravinsky Petrushka (1911 version)

Vladimir Jurowski conductor | Yefim Bronfman piano

Wednesday 25 March 2015 | 7.30pmMozart Symphony No. 36 (Linz) Rachmaninoff Piano Concerto No. 1 (final version) Dvořák Symphony No. 8

Ilyich Rivas conductor | Dmitry Mayboroda piano

Part of Rachmaninoff: Inside Out

Tickets £9–£39 (premium seats £65)

London Philharmonic Orchestra Ticket Office020 7840 4242 Mon–Fri 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.

LPO recording of tonight's work:Ravel Daphnis et Chloé LPO-0059

In this live 1979 recording, Bernard Haitink conjures a sensuous and atmospheric performance from the London Philharmonic Orchestra and John Alldis Choir.

Priced £9.99, the CD is available from lpo.org.uk/shop (where you can listen to soundclips before you buy), the LPO Ticket Office (020 7840 4242) and all good CD retailers.

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets

Available to download or stream online via iTunes, Spotify, Amazon and others.

Messiaen Des canyons aux étoiles

Christoph Eschenbach conductor Tzimon Barto piano | John Ryan horn Andrew Barclay xylorimba Erika Öhman glockenspiel London Philharmonic Orchestra

New on the LPO label: Eschenbach conducts Messiaen’s Des canyons aux étoiles

LPO–0083

‘An extraordinary achievement ... the playing of the LPO is exemplary, with special plaudits for the horn playing of John Ryan’captured.’Andrew McGregor, BBC Radio 3 CD Review, February 2015Available on iPlayer until 27 Marchbbc.co.uk/programmes/b053zr20

http://www.lpo.org.uk/shop

http://www.lpo.org.uk/shop

http://www.lpo.org.uk/recordings


We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors:

Thomas Beecham Group

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anonymous

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We are grateful to the following donors for their generous contributions to Sound Futures, which will establish our first ever endowment. Donations from those below have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant.

By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre.

We thank those who are helping us to realise the vision.

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Board of DirectorsVictoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-PresidentDr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. HøgelMartin Höhmann* George Peniston* Kevin Rundell* Julian SimmondsMark Templeton*Natasha TsukanovaTimothy Walker AM Laurence WattNeil Westreich

* Player-Director

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Photograph of Julian Anderson © Maurice Foxhall. Photograph of Ravel courtesy of the Royal College of Music, London. Front cover photograph: Martin Hobbs, horn © Julian Calverley. Cover design/ art direction: Chaos Design.

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London Philharmonic Orchestra 14 March 2015 concert programme

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